It is talentedly filmed, but at the same time it is rather repulsive and viscous movie.
An indication of the horror genre in the description can definitely mislead you. According to the plot, the film is more reminiscent of not being a horror, but being a psychological arthouse with elements of mysticism - even despite the victory of the movie at some Horror Film Festivals.
The main theme of the picture is childish cruelty: it is senseless and merciless. It is everywhere, as they say, in abundance.
It is filmed in a naturalistic, shocking way; after watching you feel a rather vile aftertaste from what you see, and you begin to look at your own childhood and at your own children with some anxiety.
The kids in the film are conditionally divided into dark and light forces; each of the groups is endowed with superpowers. If you watched X-Men, you might think that the director is an ardent fan of this franchise... but...I liked Eskil Vogt's version much less.
First of all, in order to demonstrate the heartlessness of individual young creatures, it seems that it was not at all necessary to turn them into gurus of telekinesis. It certainly added to the spectacle of the film though.
Artistically, the film is beautifully done: if such a term can be applied to a picture where various injuries and deaths follow one another.
Scandinavian cinema is generally distinguished by its special characteristics: cold, restrained tones, unhurried frame changes, skillful play on contrasts: green forest and gray stone jungle of the city, in which no one can feel safe.
The soundtrack of the movie also matches the general atmosphere: restless, disturbing, pressing on the psyche.
The adults in the film look like extras, while the performance of the young actors is truly impressive. This fact, as well as the visual and sound components of the picture, did not allow me to give the higher rate to this film... but there are many questions to the director (after all it is his vision:
First of all: why is there so much outright bloodthirstiness in the film? This is more of a drama, but not a slasher, not a film about some maniac with sadistic inclinations... The fact that children are vengeful and ruthless can be shown in other ways, equally without turning the picture into a remake of "X-Men" in this weird Scandinavian way.
Next: what is the motivation of the behavior of the characters. We are shown that the main villain is a boy from a not very prosperous family... but is his mother really that bad, and is the average child in a similar situation really capable of being so evil? All this seems unobvious or deliberately omitted by the authors: counting on the emotional shock that the viewer must experience.
Another point that caught my eye: the “light forces” in the film are represented by a local Norwegian family (whites), while the antiheroes are visitors (migrants), and single-parent families. This is hardly a coincidence, but the likely ethnic conflict that is present in the film is not disclosed by the director at all, as is the way of life of each of the three families that are shown here.
As a result, the film, despite its individual merits, does not look very solid. It largely manipulates the emotions of the audience. It is possible to experience the shock watching it, but not everyone will be able to take out something positive for themselves and remain in memory.
NT Live: Henry V NEW website English actor and star of the series "Game of Thrones", Kit Harington plays Henry V in a contemporary production based on Shakespeare's tragedy of the same name.
The play by National Theater, filmed opens on 25th February 2022. It is taking place at the recently refurbished Donmar Theatre, housed in an old warehouse in London's Covent Garden.
Max Webster, who recently directed "Life of Pi" for the West End, is the director.
In one of his interviews Kit said: “Henry V is the role I have always dreamed of playing, and Donmar is the stage I could only dream of playing. This is the role of a complex and ambiguous leader. Max Webster is a fantastic director... I'm honored to be a part of Donmar's return". As I mentioned earlier, Harington is best known as Jon Snow on the television series "Game of Thrones" He has already been seen in the realm of "fantastic leadership". As Henry V, he explores "modern political power and the psychology behind it", how it strengthens or not and what it means to have a privileged white man running a country that is much more diverse than that.
Of course, unification is also a topic that is highly relevant to Henry V.
This remarkable production explores the corrupting influence of power and leadership in times of crisis.
Donmar's artistic director, Michael Longhurst has scheduled a resumption of a season of performances exploring the role of the individual in society.
Film : Elvis Director: Baz Lurhmann Main Writer: Baz Lurhman Designer: Catherine Martin Style : Musical drama Staring : Austin Butler Tom Hanks Olivia Delonge Melbourne Release. : June 23, 2022 Country : For Warner Brothers. Entirely shot in Australia with supporting Australian actors. Reviewer : Sherry Westley
This looks like a big Christmas Trifle of a film. A number of story threads woven together in a luscious visual palette with a sensual central performance. Wonderful Baz Lurhmann and Catherine Martin theatrics again!
But at the same time, it is skilfully and sensitively grounded by the subtleties in the performances of the American actors, Austin Butler as Elvis and Tom Hanks as his manager Colonel Parker. We are fully drawn into the complications and dramatic effects of their duplicitous relationship. A human tragedy unfolding beneath the glitz and glamour. This is the dramatic thread that holds us through the film. And yes, Austin Butler’s performance as Elvis places him in the major star category. He sings some of the earlier Elvis songs extremely convincingly.
Elvis’s musical and to some extent social roots in Negro culture, are a thread Lurhmann weaves in, including vignettes of the black struggles for equality and the murders of Dr Martin Luther King and John F. Kennedy. Again though, with emphasis on some exceptionally good Negro singing and visuals.
Another thread is the fear in white society of the expression of such explicit sensuality in Elvis’s movements. Vulgar and degrading, or is “the spirit in him”? Is his mother right? “ The way you sing it is God given, so there can’t be any harm in it.’’
It is true that the film’s’ opening scenes are somewhat raucous and scattered. But that soon settles down into a showy but involving story.
Amongst the Australian supporting cast, watch out for well known actors such as Richard Roxburgh ,David Wenham and Anthony La Paglia.
The film was entirely shot and produced on the Gold Coast, Australia. As I consciously watched the lengthy credits roll to the end, I reflected that it appears to take a small city to raise a film! A boost for our film industry thanks to Baz Lurhmann, the Australian Government’s Producer Offset,the Queensland Government through Screen Queensland and the City of Gold Coasts’ Screen, Arts and Culture Programs. I really enjoyed seeing the names of all these Australians the film had employed.
Has the young Elvis really left the building? No way, thanks to Baz Luhrmann, Austin Butler and an army of Aussie creatives, technos and others.
Definitely worth seeing.
THE 2022 MORO SPANISH FILM FESTIVAL: OFFICIAL COMPETITION NEW website review by Alexander Montgomery
The 2022 Moro Spanish Film Festival for the Australian Premiere of the movie ‘Official Competition’.
It is a fact that we all have our favourites and I dare say that the 2022 Moro Spanish film festival for the Australian Premiere of the film ‘Official Competition’ was this one event that I had dreamt of attending. Firstly, it was the Spanish film festival (I love everything Spanish) and secondly, the film stars none other than the gorgeous Antonio Banderas, the stunning Penelope Cruz, and the heavenly Oscar Martinez!
The evening launch of the opening night reception was nothing short of a star-studded event. I had photos taken on the red carpet and revelled in delightful complimentary drinks. All of this while being entertained by live performances!
In a nutshell, and without giving too much away, ‘Official Competition’ stars José Luis Gómez who plays Humberto.
Humberto is an 80-year-old multi-millionaire who decidedly decides to leave his heritage behind by producing a film. What he thought was to likely eventuate to be his highly successful work of art in show business - his ultimate legacy to the world, instead unravels into a disastrous spiral of nothingness with the set director in the movie being accosted by an internationally acclaimed, world-famous cast members with egos as huge as the universe!
A comedic and entertaining film superbly produced by acclaimed directors Mariano Cohn and Gastón Duprat, multitude of fans to the all-powerful cast would be eager and will enjoy the performances of their favourite actors in ‘Official Competition’ which screens for 2 hours. Penelope Cruz plays the temperamental director (Lola Cuevas), Antonio Banderas (Félix Rivero) plays a playboy, and Oscar Martinez (Iván Torres), as Antonio’s rival.
Overall, I award this spectacular event a 9/10. I also award the film ‘Official Competition’ a solid 9/10!
The main heroine, who recently lost her husband, is trying to return to normal life.
She moves to a quiet English town to take a break from the whole world. There, surrounded by tranquility of counrty life she expects to come to her senses and start a new. She rties to hide from men in particular.
Suddenly something sinister from the forests nearby begins to haunt the woman . It does not let her forget about her grief and frightening her more and more each time.
Her husband, died under strange circumstances. Harper is not particularly grieving. Just before the tragic event, he severely beat her.
She either imagines, or not, a naked stranger emerging against the backdrop of idyllic landscapes. There are also completely real men, but this does not make it easier, because all of them, whether a policeman or a priest, are patented bastards.
The director and screenwriter of MEN is Alex Garland, the creator of such masterpiecesas "Ex Machina" and "Annihilation" and "Judge Dredd", "Don't Let Me Go". He also wrote the screenplays for the frankly great The Beach, Inferno, and 28 Days Later.
Garland's name in the credits meant one thing to me: it definitely will not be simple and corny.
For example, according to the conceptual author's idea, all male characters are played by the same brilliant actor, Rory Kinnear.
Every Garland project is an event not to be missed, and the beautiful and creepy MEN is the most anticipated horror movie you will watch of June, if not in whole winter.
The film will screen in cinemas from June 16.
Producers include Andrew McDonald (Far from the Madding Crowd), Allon Rich and Cahal Bannon. Cinematographer Robert Hardy is responsible for the visuals, Jake Roberts is responsible for editing, and the duet of Geoff Barrow (Gunfight) and Ben Salisbury is responsible for the musical accompaniment. The artists were Mark Digby and Lisa Duncan. The film's cast includes Jessie Buckley (Spy Games, Ms. Bad Behavior, Judy), Rory Kinnear (Imitation Game, Dance From Here!), Paapa Essieda (Anna Boleyn), Sonoya Mizuno (Beauty and the Beast, La La Land ), as well as Gail Rankin, Zach Rothera-Oxley, Sarah Twomey and other foreign artists.
GERMAN FILM FESTIVAL 2022: THE FORGER website review by Kieran McNamara
The Forger is a German movie based on the true story of Samson "Cioma" Schönhaus and is directed and written by Maggie Peren. Cioma was a young, Jewish, graphic artist who forged documents to help others escape the Nazis. The movie is set in the 1940's and focuses on Cioma and his friends as they try to help others whilst also navigating the perils of war and being Jewish in Germany. Although the war was occurring, this isn't a traditional war movie focused on the fighting and focuses more on the struggles of daily life with finding a safe place to live, food and avoiding the Nazis. Cioma enjoys the nightlife and better food gained from his connections whilst forging papers and working in a factory. His life is changed by the money gained and that is in direct contrast to his early bohemian days and values.
The cast were excellent with Louis Hofmann playing Cioma and he brought a slightly carefree and at times, a little reckless attitude that seemed quite risky for the environment and situation at the time. The movie contained a mix of happiness and of potential disaster that could befall Cioma and his friends at any time which did bring out a feeling of nervousness whilst watching it. The supporting roles are beautifully developed and show the inner conflicts of living in that specific time and place. I did enjoy the characters, the setting and mood and watching a movie set in Germany during the war as opposed to so many English language films set during the same period.
This movie is on as part of the German Film Festival at Palace Cinemas in May/June
LOST ILLUSIONS website review by Alexander Montgomery
The year in this movie is set in 1821. Lucien Chardon or de Rubempré (depending on who you ask in the movie) is brilliantly played by César winner Benjamin Voisin. The film opens with Lucien, a handsome young man from provincial France arriving in Paris who yearns to find his feet with big hopes and dreams to succeed. Initially connected by his cousin Louise de Bargeton in high society, naïve Lucien from the village quickly finds himself falling out of favour. The pretentious social class quickly expel Lucien for not being gracious with his ‘P’s and ‘Q’s.
Faced with having to either return to the Provice, or to remain in Paris with no family or friends, Lucien decides to stay. He is determined to find his way, to realise his aspiration to be a published poet. As fate would have it, Lucien finds himself quickly connected with the wrong crowd and gets trapped in the dark world of journalism where heavy influence and bucket loads of money is the backbone to establish anyone’s success in the local papers. Lured by money, fame and sex, Lucien quickly sells his soul to the devil by demolishing his conscience to either write rave or scathing theatre reviews for bribes. ‘Lost Illusions’ is an adaptation of one of Balzac's greatest novels. Director Xavier Giannoli cleverly crafts a contemporary tale of the human ambition and thirst for success, love, corruption, and revenge amidst fake news, high society fame, and fortune. The film contains nudity and soft love making scenes (hardly surprising as the film is french). The performances are stellar, the orchestral score, costumes, set design and artistic direction, impeccable.
‘Lost Illusions’ is a must see. Coming to a cinema near you on 23 June, I rate this spectacular production, 9.5/10.
THE KITCHEN BRIGADE website review by Katherine Kelly
Directed by Louis-Julien Petit Writers: Liza BenguiguiScreenplay Sophie BensadounOriginal idea) Louis-Julien PetitScreenplay)
Cast: Audrey Lamy as Cathy Marie François Cluzet as Lorenzo Chantal Neuwirth as Sabine Fatou Kaba as Fatoumata (Cathy’s friend) Yannick Kalombo as GusGus Amadou Bah as Mamadou Mamadou Koita as Djibril Alpha Barry as Alpha Yadaf Awel as Yadaf Demba Guiro as Demba Boubacare Balde as Boubacar Irakli Maisaia as Irakli Sayed Farid Hossini as Sayed Saikat Baru as Saikat Amadi Diallo as Amadi Aiham Deeb as Aiham Stéphane Brel as Mikaël Chloé Astor as Lyna Deletto
Release date: 16 June
Cathy Marie a single minded sous chef has dreams of opening her own restaurant. After an abrupt ending to her career at a top restaurant, Cathy finds herself in financial difficulties. After accepting advice from her friend Fatou, she reluctantly accepts a position in the kitchen of a migrant hostel for boys awaiting their resident permits. At first, she is frustrated and absolutely hates it. The kitchen is ill-equipped, and she has no help. “I can’t prepare 70 meals on time” she says to her boss Lorenzo (François Cluzet). He replies by saying “If you need help ask the boys. They’re keen to jump in.” Soon Cathy’s passion for cooking takes over. The boys have no clue about working in a kitchen. After a rocky start she gets the boys into line by ensuring that their hands and fingernails are clean, that they are disciplined, and stressing to them in no uncertain terms that she is boss. Gradually, things begin to change. However, there are pitfalls – not all the boys are under 18 which results in some deportations following x-rays to determine the boys’ bone age. This includes Djibril a promising elite footballer. One can only imagine what he is being sent back to which gave me a tinge of sadness.
With Cathy getting the required discipline from the boys and teaching them culinary skills, the boys also teach her a lot as well. We learn about what they’ve had to endure in being migrants and the poverty and violence that many have escaped from.
Kitchen Brigade is indeed a heart-warming movie, which enhances understanding through listening to the stories of others – something everyone could have more of in this fragmented world in which we live
For the first time, the Metropolitan Opera presents the original five-act version of Don Carlos in French.
This Verdi's epic masterpiece is about the tragic love of an infant and a queen, the events that take place against the backdrop of the Spanish Inquisition. The production is performed by conductor Yannick Nezet-Séguin and world-famous singers, including tenor Matthew Polenzani in the title role, soprano Sonya Yoncheva as Elisabeth of Valois and mezzo-soprano Elina Garancha in the part Princess Eboli.
Bass Günther Groysböck and bass-baritone John Relya sing the roles of Philip II and the Grand Inquisitor respectively, and baritone Étienne Dupuy completes the star-studded cast as Rodrigo.
Composer: Giuseppe Verdi Conductor – Yannick Nézet-Séguin Directed by David McVicar Artist: Charles Edwards; Costume Designer - Brigitte Reiffenstuelle; Lighting Designer – Adam Silverman.
The Verdi's opera has its monumental new production by Sir David McVicar, one of the Metropolitan Opera's most popular directors, for whom this was his eleventh performance at the theatre.
Verdi's Don Carlos is undoubtedly an outstanding opera in every respect, the three hours of the spectacular go in one breath.
My attention was focused on the atmosphere of the war with Spain, as well as on human melancholy and the fate of Flanders.
Politics, religion, history and psychoanalysis are all intertwined in this opera, and all this further exacerbates the fears and prohibitions that lie between the characters.
The whole opera is permeated, on the one hand, by the motive of inexorable and inevitable fate, and on the other hand, it is a string of magnificent sonorous arias plus fantastic music. David McVicar deconstructs this haunted tragedy to the core and places the most important thing at the center of an imaginary picture, more real than historical reality.
In all my adoration, love and respect of Verdi's timeless music since my childhood and music school years, I trully think Don Carlos is the quintessential Verdi's opera. It's a priviledge to watch and listen to it!
JURASSIC WORLD DOMINION website After many years of experiments, scientists are able to recreate dinosaurs and build a huge Jurassic Park. There are lots of changes occurred in the minds of people and now, these huge mosasaurs that can eat a shark in one bite, or nimble and smart velociraptors that can understand the trainer's commands, do not surprise anyone anymore.
Yes, I agree, humanity nowadays takes mutants and monsters for granted... but only as long as they are sitting in their own enclosures and do not disturb us.
Thanks to the events of the past, when the modified creatures escaped and broke free, these monsters became much familiar to us: both literally and figuratively.
Leaving their usual habitat, dinosaurs filled the entire space where only wild animals used to live... and some, especially dexterous beasts, even managed to get to places located closer to human habitation. Claire Dearing and Owain Grady, as former employees of the famous Jurassic Park, truly believe that humans and enhanced dinos will become friends and begin to get along with each other, like pigeons and people... but not everyone shares such a peaceful concept. Someone is worried that giant creatures will cripple themselves, others are worried about their own lives. One thing is clear: it is difficult to negotiate with prehistoric creatures.
So the dinosaurs that escaped to freedom repopulated all corners of our planet. In reality, revived ancient lizards are quite difficult to coexist with humans. The delicate balance now and then threatens to be broken with the end of the era of human dominance and the beginning of a new era of dominance of giant and terrible lizards. Wealthy corporations are playing their own games, starting the capture and transport the wild animals. The main characters involved in all this have to turn to professionals in their field.
In the past, they already had a sad experience with dinosaurs on the island of Nublar.
Colin Trevorrow (Star Wars: The Rise of Skywalker) is directing and storytelling, with Emily Carmichael (Pacific Rim 2) and Derek Connolly (Monster Trucks) co-writing the story. The producers of this fiction include Patrick Crowley (Bourne Evolution), Frank Marshall (Miracle on the Hudson, Big and Good Giant), Winston Azzopardi and others. The visuals are directed by cinematographer John Schwartzman, the editing is by Mark Sanger, and the music is composed by Michael Giacchino (Batman, Spider-Man: No Way Home, Bad Times at the El Royale). The film's cast includes Chris Pratt (Baby Kid, Avengers: Infinity War, Guardians of the Galaxy Vol. 2), Bryce Dallas Howard (Rocketman, The Way Home, Gold), Sam Neill (Invasion, Passenger, Escape Plan), Laura Dern (Little Women, Wild, Fault in Our Stars), Jeff Goldblum (Hotel Artemis, Thor: Ragnarok, Independence Day: Resurgence). They were accompanied by Mamoudou Ati (Underwater), Scott Haze (Deer Antlers, Tomorrowworld, Vault), Daniella Pineda (Cowboy Bebop), Campbell Scott (Journalist, The Amazing Spider-Man: High Voltage), Dichen Lachman and other artists.
review by Alex First
Jurassic World: Dominion (M) – 147 minutes – by Alex First
Locusts were one of the 10 plagues of Egypt and so it is in Jurassic World: Dominion.
Gigantic sized grasshoppers threaten the world’s food supply.
They have been created thanks to a genetics laboratory, Biosyn, that has been granted control over the dinosaurs.
These prehistoric creatures are now freely roaming the world.
Meanwhile, a black market in dinosaurs is thriving.
Biosyn head Lewis Dodgson (Campbell Scott) has a rule to plough ahead with his operations regardless of what mistakes have been made.
That puts him at odds with those looking for peaceful coexistence with the dinosaurs, if that is even possible.
The movie is built upon the architecture of 1993’s Jurassic Park and 2015’s Jurassic World.
Part of that involves the emergence of Maisie Lockwood (Isabella Sermon), the daughter of highly regarded scientist Charlotte Lockwood.
Maisie is being raised by activist Claire Dearing (Bryce Dallas Howard) and dinosaur whisperer Owen Grady (Chris Pratt).
They are a family, but the 14-year-old is rebellious and eager to explore her roots.
Maisie is a hot property under threat because of her unique DNA.
Meanwhile, palaeobotanist and author Dr Ellie Sattler (Laura Dern) has seen the magnitude of the locust problem firsthand.
She enlists the aid of her former colleague, palaeontologist Dr Alan Grant (Sam Neill), who is hardly being challenged these days.
Sattler also happens to have separated from her husband and her two children have grown up. Grant is more than a little interested, as she is in him.
Gifted an invitation to visit Biosyn, the good doctors are highly suspicious as to just what is going on there.
In their corner is highly cynical mathematician Dr Ian Malcolm (Jeff Goldblum), who feigns a lack of interest.
Within the company, too, there are concerns that Lewis Dodgson has lost the plot. Colin Trevorrow is back in the director’s chair (he is also co-writer with Emily Carmichael) and has kicked the franchise up another gear.
There is action, special effects and sound effects aplenty in Jurassic World: Dominion. The pace is fast and furious.
I, like so many, can’t get enough of the dinosaurs and I wasn’t disappointed.
Apart from the re-appearance of Velociraptor Blue (and her offspring, Beta), the ultimate apex predator in the T-rex is back. We also get to see a Gigantosaurus, which is the largest known terrestrial carnivore.
Mind you, I have barely brushed the surface. Suffice to say, there are dinosaurs in significant numbers – on the ground and in the air.
Familiarity with the earlier Jurassic instalments will help, but you can still readily follow the threads if you are not au fait with what went down before.
Several story arcs come together as the locust threat and the safety of the teenager predominate.
I appreciated the reappearance of characters of old in Sattler and Grant.
The former is asked to do more and is wedded to the cause of tracking down how the giant bugs came to be (and how to counteract their devastating impact).
A frantic opening re-establishes Claire Dearing’s credentials. Bryce Dallas Howard brings passion, purpose and warmth to the role.
Chris Bratt as Owen Grady is the epitome of Joe Cool in his ability to handle (almost) any situation.
Jeff Golblum’s deadpan delivery is there again for all to see and savour, although he is probably given a few too many lines. What I am suggesting is that less would have been more.
I liked the attitude and bravado displayed by DeWanda Wise as daredevil pilot and mercenary Kayla Watts.
Even though there is a lot going on, at nearly two and a half hours Jurassic World: Dominion is a bit of a stretch.
Jurassic Park and Jurassic World were closer to two hours and that would have been enough here too.
Still, there is plenty to like about this offering, which is big and bold and loud.
In other words, “Dominion” has been given the Hollywood blockbuster treatment, so see it on the biggest screen with the best sound system you can.
Benediction is an American-British biopic directed by Terence Davis and produced by the British Film Institute. Starring: Jack Lowden, Peter Capaldi, Julian Sands, Jeremy Irvine, Kate Phillips, Geraldine James and others.
This film follows the famous and young English writer and World War I veteran, Siegfried Loraine Sassoon (1886-1967), an extremely intelligent, complex and multi-faceted figure.
In this drama, Sassoon's brave and extraordinary life is presented as a series of flashbacks, encounters and failed relationships.
We meet Siegfried Sassoon (Jack Lowden and Peter Capaldi), a heroic soldier in the military. He managed to earn the respect of friends and senior management in a short period of time... but the young man began to gradually realize the futility of hostilities. While tired of the senseless carnage, he begins to rebel and disobey the orders of the army. Subsequently, the protagonist took the serious position of a man who began to promote anti-war values... Suddenly, he realized that it was necessary for everyone to lay down their arms in order to try to resolve the conflict peacefully and calmly... up to the point that his case is taken to court, where, fortunately, he is saved by his friend, Robbie Ross (Simon Russell Beale).
The verdict stated that he was mentally ill and should be treated in a Scottish psychiatric hospital in Oxford. While he was on the road, he had time to think about his life.
Upon arrival at the hospital, Sassoon meets a young and charming Wilfred Owen (Matthew Tennyson), a man who, like no one else, understands him and his feelings, shares his disdain for war and love of poetry.
They begin to spend time together reading their writings to each other, and the relationship of mutual respect, friendship, and love quickly develops between Owen and Sassoon. However, when Owen is sent back to the front after treatment and dies in action just a few weeks before the end of the war, Sassoon's mental health worsens. He feels guilty about the death of his friend.
After the war, Sassoon had love affairs with famous men, but at the same time, he never fully accepted his sexual identity. These men included the vain Stephen Tennant (Calam Lynch) and the obnoxious Ivor Novello (Jeremy Irvine).
But in the end, despite his sympathy for men, and in order to find his own salvation in an appropriate marriage and religion, he decided on his self-identification and got married to a girl, Esther Gatti (Kate Phillips), who knew about his former life.
However, this marriage did not save him from emotional instability, he constantly felt lost and alone.
Full of inner struggle, Sassoon never for a moment could find the inner peace he longed for.
Pils Adventures is a great animated movie, created the by director, Julian Fournier.
All the characters and the plot is so well planned. They are amazing and keep you engaged during the whole duration of the film.
The amination is about the Pil who is an orphan and lives with her three friends in foggyborough.
Everyone used to hate her and she used to steal other people's food.
One day she sneaks into a castle where she sees Tristan who was putting a spell on King Roland to take king's crown and his kingdom.
Pil and her friends want to save the king but the king turns into a chicat - half chicken and half cat.
Pil wears queen's costume, tricks everyone and everyone thinks she is the queen.
She is helpde by her three friends and two other boys. They all help her to save the king by finding and bringing the unicorn poo.
The movie is animated very well and all characters are designed in a very interesting and unique manner.
Some punches of the movie are very comic and you feel the continuous anxiety of what will happen next.
Pil manages to save the king and his kingdom at the end which is very well presented.
The film gives a great lesson of winning of good over evil.
The animation is done in a very creative way. You can see the happiness in kids' eyes while sitting in the theatre.
Kids must watch it.
MOTHERING SUNDAY website review by Katherine Kelly
Mothering Sunday Directed by Eva Husson Produced by Elizabeth Karlsen
Cast: Odessa Young as Jane Fairchild Glenda Jackson as older Jane Fairchild Josh O'Connor as Paul Sheringham Olivia Colman as Mrs. Clarrie Niven Colin Firth as Mr. Godfrey Niven Sope Dirisu as Donald Patsy Ferran as Milly Emma D'Arcy as Emma Hobday Simon Shepherd as Mr. Giles Hobday Caroline Harker as Mrs. Sylvia Hobday Emily Woof as Mrs. Sheringham Craig Crosbie as Mr. Sheringham Albert Welling as Mr. Paxton, bookstore owner
Costumes by Sandy Powell Based on the novel by Graham Swift
Mothering Sunday tracks the events of 30 March 1924 some six years after the Great War. Jane Fairchild (Odessa Young) an orphan, works as a servant in the House of Mr and Mrs Niven (Colin Firth and Olivia Colman). The Nivens are preparing to attend Lunch by the river and have given servants Jane and Milly the day off. After receiving a phone call from her long time secret lover Paul Sheringham (Josh O’Connor) she cycles over to his house for a tryst. Paul is engaged to marry Emma Hobday who was engaged to his friend James – killed in the great war. The scenes between the two lovers are very sensual and intense as Paul will soon marry Emma and continue his legal studies. With marriage being impossible between Paul and Jane, Paul reveals to her that she is his one true friend and leaves Jane in the house to join his family for lunch. However, unforeseen events change these two people’s lives forever.
The cinematography depicts beautiful outdoor scenery as well as indoor floral arrangements. I was also taken by the colourful orange tea set in the Niven household
Mothering Sunday is imbued with resignation and melancholia – a harking back to happier times – “Once upon a time before the boys were killed”. We learn that the now melancholic Mrs Niven who wears brightly coloured clothes from a happier era was very livery and swam with the boys as children. Now she hardly speaks except to say “They’re all not fucking here. They’re all fucking gone”. On hearing that her maid Jane was comprehensively bereaved at birth, she says “it’s a gift. You must learn to use it.”
Jane soon leaves the Niven household to work in a bookshop. She uses her gift of observation in becoming a world class writer.
Mothering Sunday had its world premiere at the Cannes Film Festival on 9 July 2021; and is due for release in Melbourne cinemas on 2 June. This slow moving, wistful film must not be missed.
What an interesting and informative documentary. It was really well made, touching, and moving. Tiriki Onus is an inspiration, I believe. He has directed and written this film with Alec Morgan. It's an intriguing story of his findings about his grandfather and a film he found that by all investigations his grandfather had made. Tiriki is a Yorta Yorta man. Being a visual artist , performer and opera singer, he as well Heads up the Wilin Centre for indigenous Arts and Cultural Development, for the University of Melbourne. In 2015 he was the inaugural Hutchinson Indiginous Fellow at the University of Melb.
Sounds like Tiriki has had a colourful, and impressive career. This latest endeavor, Ablaze, I would strongly encourage patrons to view.
It started with him sewing a possum blanket for his young child. A tradition through his culture which adds parts to the blanket as the children grow, keeps them warm but also tells of their lives and their story. A beautiful, extremely important ritual which his ancestors were denied.
As he unpacks a trunk of his late grandfather's Bill Onus we hear from Tiriki and others on how the indignious owners of Australia were mistreated, not allowed to carry on with their language traditions and life , and forced to fit in with European ways, life and customs.
Bill Onus was a groundbreaker as far as his people were concerned. He did so much. William Onus( Bill ) was born in 1906. His father was of Wiradjuri background while his mother was of the Yorta Yorta people. His place of birth was at the Cummeragunja Aboriginal Reserve. As a teen he journeyed around with his family, through the Riverina. His father was a drover. Bill did droving when he first left home and school. Moving to Sydney in 1928 he took up various posts during the depression as a truck driver and prospector. He then joined the Aborigines Progressive Association who he later became a secretary for and then a full time employee. In '36, this skillful man starred in a film Uncivilised , and in 1937 he was in Lovers and Luggers. Multi Talented Bill , returned to his home to take part in the Cummeragunja walk off, which was a mass protest of Indigenous Australians. Onus and his family moved to Vic Melb, Fitzroy. There he got together with a pastor, Doug Nicholls, and later co- founded the Aboriginal Advancement League.
In 1945 Onus moved to the Northern territory to participate in The Overlanders. He saw Aboriginal stockmen being chained up and ill treated, hence his platform for making his film Ablaze. This is at the centre of the doco, as Tiriki investigates where the film came from and how his grandfather hypothetically made it. Tiriki Onus reports about the film's vital message, story, and intrinsic value to his people. Onus, Bill is surmised to be the first indigenous filmmaker. He made the 9 1/2 min long, silent film about the walk off , of the indigenous, at the Pilbara. Where harsh conditions and no pay prevailed at the time, in 1946. Onus also made his mark as a presenter on an ABC broadcast, 12 eps titled Alcheringa about everyday Indigenous practices before Europeans embarked on Australia.
Bill started a souvenir business Aboriginal Enterprise Novelties in '52, and later in the 50s owned a factory and a shop. In 1955 he organized with Doug Nicholis a review called An Aborignal Moomba. Out of the Dark. which included a few indigenous singers. The festival in Melbourne became known as Moomba. As leader of the Aborginal Victorians he became the leader in the campaign for the "yes " vote in the 1967 referendum, as well as president of the Aboriginal Advancement League.
His grandson Tirika thoughtfully and gently narrates this film. He does an excellent job of the presentation, and participation in the tale. Guests appear of significance in Bill's life and career, talking about how their culture, language, ceremony stories ect, that were quashed and that Europeans tried to eradicate . Thank goodness they didn't succeed. It's a very eye opening poinaniant account. I believe it needs to be taken into deep consideration and given thought and contemplation. So grateful to be able to review this touching saga. Tiriki does a stellar job, and it's lovely to hear from his guests about this brave outstanding man Bill Onus. Thank you so much for the opportunity to see this amazing film. I highly recommend everyone to take a look at this documentary. We all need to know a lot more about our precious indeginous history. Please see the film, it is well and truly worth watching. Starts May 26th in cinemas.
Unfortunately, in Hatching, the horrors of growing up, and in particular being raised by indifferent and depressed parents, are not as disturbing or memorable.
Bergholm (who co-wrote this story) and screenwriter, Ilya Rautsi deserve credit for effectively applying Roger Corman's rule of teasing viewers with something good and useful (in this case, related to monster birds) every ten minutes or less.
But while your impressions will obviously vary, Hatching never turns into anything as unsettling as it is raw.
The main attraction of Tinji (Siiri Solalinna)is being a shy teenager; she often doesn't seem like her panting mother Aichi (Sofia Heikkila). Maybe Tingja just doesn't know how to live up to her mom's high expectations.
Aichi constantly documents Tinja's activities on her influencer-style blog; it's all about her "normal Finnish family", which, in turn, explains her family's floral wallpaper, cake and popsicle clothing, and glass and porcelain home decor.
This setting also explains why there is nothing shocking about the early bird scene's climax: Tinji's mother breaks the thrush's neck after it flies into Aichi's house and breaks a few things while it tries to escape.
A good start for a horror movie, but not surprising given how obviously monstrous Tinji's mother tends to be.
Äichi has some humanizing qualities as well as superficially depressing to the point of a very immediate error.
Aichi wants her daughter to train and train and train until she gets a spot in the upcoming gymnastics competition... but Tinja can't nail his takedowns and always seems to land on her side or knees.
Tinji's mother also seems to have broken the spirit of her dutiful and somewhat nervous husband, Isa (Jani Volanen), who obeys orders and keeps up appearances, but otherwise doesn't seem to matter.
Tinja also finds a small bird in the forest and secretly raises it.
It transforms into a giant bird monster and causes a strangely lackluster identity crisis of growing up.
EVERYTHING WENT FINE website review by Katherine Kelly
A film by Francois Ozon
Cast: Sophie Marceau as Emmanuèle André Dussollier as André Géraldine Pailhas as Pascale Charlotte Rampling as Claude Hanna Schygulla Éric Caravaca as Serge Grégory Gadebois as Gérard Jacques Nolot Laëtitia Clément Judith Magre as Simone
Based on a memoir Everything went well by Emmanuele Bertheim, Francois Ozon’s Everything went fine tackles the subject of assisted dying.
The film opens with Emmanuele (Sophie Marceau) receiving news of her father Andre (André Dussollier) having suffered a stroke whereupon she drops everything to go and be by his side. She and her sister Pascale (Géraldine Pailhas) witness him having an MRI and various other tests. Despite thinking that he will get through this, the situation becomes extremely grim. Andre spends quite some time in ICU with intravenous feeding. He becomes depressed and is irascible, throwing items at his long-suffering daughter Emmanuele. He then tells her that he wants to end his life and that she is to assist him. She is placed in a moral dilemma; and he won’t take no for an answer. Both his daughters have never refused his requests.
Andre’s treating doctors say that requesting death among severe stroke patients is not uncommon and that they ultimately do not follow through. This is not the case with Andre who exerts a large degree of pressure on Emmanuele who is very reluctant to take this step. We see flashbacks of Emmanuele as a child suffering at the hands of a seemingly unloving, insensitive father. Charlotte Rampling who regularly appears in Ozon’s films (Under the Sand and Swimming Pool) plays Andre’s ex-wife Claude who has her own set of problems with depression and Parkinson’s. She adopts a totally dispassionate stance to Andre’s illness and wants nothing to do with Andre or his illness.
In accordance with her father’s wishes Emmanuele makes enquiries with a Swiss organisation and ultimately the arrangements. There are, however, some hitches and opposition from his New York cousin Simone (Judith Magre). She reminds that he owes it to his relatives killed in the Holocaust to live. Also, the French Police receive a tip off that the family were in violation of French law which brings potential charges and forces the family to make alterations to their plan.
With such strong performances by Marceau and Dussollier, Ozon pays tribute to his departed friend Emmanuele Bertheim whose story is the backbone of this movie.
Directed by Patrice Leconte Cast: Gérard Depardieu as Jules Maigret Jade Labeste as Betty Mélanie Bernier as Jeanine Arménieu Aurore Clément as Mme Clermont-Valois Clara Antoons as Louise Louvière Pierre Moure as Laurent Clermont-Valois Bertrand Poncet as Lapointe Élizabeth Bourgine as Irène Anne Loiret as Mme Maigret Hervé Pierre as Doctor Paul André Wilms as Kaplan Philippe du Janerand as the judge Jean-Paul Comart as Albert Janvier Pascal Elso as Clermont-Valois's lawyer Norbert Ferrer as bar owner Moana Ferré as Maggy Rouff salon woman
John Sehil as cemetery employee Maigret, a character created by Belgium author Georges Simenon, has been the subject of TV series and films over many decades.
Patrice Leconte’s recent production of Maigret depicts long time actor Gerard Depardieu giving a wonderful interpretation of Jules Maigret. Depardieu’s portrayal of Maigret brings to life a quiet, seemingly melancholic man. Never judgmental and paying close attention to the minutest detail, Maigret ultimately gets to the bottom of things.
It is Paris in the early fifties, the body of a young woman in what was once a beautiful silver evening dress is found at place Venumille, Paris with five stab wounds. There is nothing to identify her and no one who witnessed the crime. A world-weary Maigret sets about piecing together minute aspects of the deceased’s life, leaving nothing to chance.
We are taken to the deceased’s attic apartment where a dispassionate, somewhat cynical landlady observes the naïve girls from the regions who come friendless to Paris to seek a better life to be interchangeable. Some find a better life while there are those who find their move to the metropolis to be a deadly mistake. Maigret befriends Betty, one such girl who, while bearing a resemblance to the deceased, proves to be an ally in the solution to this case.
All this takes place against a backdrop of a very sombre, moody Paris with the vintage cars of that era.
I think we all know that feelings have no gender, and no orientation, they are just feelings.
"The framework" is only in the heads of those who are afraid of the unknown and feel terrible and not open to experiences.
We all watched dozens of films about gay love especially lately. Some of them are genuine and amazing, and some are just made to be part of it and build fame on the theme somehow... I love and at the same time don't love some certain aspects of these films.
"Firebird" is one of those that you need to just to "feel" without thinking.
Put questions aside and dive deep.
This deep feeling is facilitated by cold color correction of the picture, close-ups scenes and conflicting characters.
The first half of the film is about an impulse, about secret kisses, about diving into an icy lake, about freedom, over which something destructive hangs.
The second is about obligation and duty, which stifle impulses and ultimately lead to tragedy.
Sergey chooses to live according to his heart, Roman chooses to live according to the law and duty, but his soul is torn out from this cage.
...And eventually it breaks out.
It’s a little embarrassing that Sochi was clearly filmed in Antalya or somewhere else... - there are funny inconsistencies in time and surroundings... and because of this, you do not forget that what is happening is just a movie, and it feels a bit fake.
I was a little lacking in the realism of what was happening. The ending did not do it well as well though the first part of the film was rather remarkable...
Perhaps trying to fit many years into an hour and a half is not the best idea... but the movie hurts. It you me think... and there is a desire to revise some scenes.
I wish there were more films like this. You can't forbid love, it's a stupid waste of time and thousands of broken lives...
BTW and just a note, that homosexuality was prohibited in the US Army before 1993 (The United States military formerly excluded gay men, bisexuals, and lesbians from service. Since 2011, openly gay, lesbian and bisexual men and women have been permitted to serve in the military.) and still is not allowed in Russian and many other nations Armies now. There were and sill are probably some strong reasons for that,
The turning point is about to come in World War II: Allied forces are about to land in Sicily and begin to retake Europe from the Nazis. There is one serious problem: absolutely everyone, including Hitler and Mussolini, understands that the attack will take place on the Italian island. The British intelligence agencies are faced with a difficult task: they need to figure out how to deceive the Nazi leadership and make them believe that Greece is the real target of the landings.
While the authorities decide to act with proven methods, a small detachment led by former QC Ewan Montagu (Colin Firth) decides on an adventure. Their plan is to throw the corpse of an allegedly British naval officer to the shores of neutral Spain, in whose suitcase there will be a fake report about the attack on Greece. You just need to do everything so that the enemy does not have the slightest suspicion of the authenticity of the papers and the fictitious military.
Operation Minced Meat is a completely amazing and entirely real episode of the Second World War, perhaps best showing how much happens behind the scenes of large-scale field battles. Making a movie about this story seems like a win-win idea. So much heat, so much drama, so many vivid details: the search for a suitable corpse of a homeless man, the creation of a fictitious biography from scratch, fake letters from the bride and the fateful eyelash that the British put in a letter to check if the Spaniards printed it (the eyelash disappeared - just like in Mi- 6 understood that the envelope had been opened). It's even strange that no one had thought of making a big movie on this topic before.
But director John Madden's picture perfectly demonstrates why an interesting story does not necessarily equal to an interesting movie. All the exciting details of the operation are much more creatively retelling a ten-minute video from YouTube. A two-hour movie simply does not have enough material to evenly distribute events throughout the duration. The espionage part of the story is told very cheerfully here, especially the episodes in Spain where the double, triple and quadruple agents try their best to deceive the Nazis - so much so that they believe that they, in turn, are deceiving the British. That's just these scenes for the entire film will be typed for about twenty minutes.
The rest of the time we watch the personal dramas of the participants in the operations, written in the same lazy way. Someone's wife left, another lives in the shadow of a more successful (and deceased) brother, a third still cannot survive the death of a loved one, although many years have passed. There is, of course, the obligatory love triangle. The heroes do not hesitate to describe their problems aloud and throw whole pages of exposition at each other. For a film about covert operations in Operation Mincedmeat, everything is very superficial: phrases, gestures, actions. Any Soviet Stirlitz or James Bond would reveal such spies in no time.
Behind all these personal squabbles, however, lies a curious movie about the very essence of storytelling. The same fictitious officer Martins becomes the center of concentration of all traumas, unfulfilled hopes and dreams of its authors - compiling a biography of a fake sailor, each of the characters projects their own personality onto him. If the script hadn't been so hard-headed at times, the film would have been a wonderful meta-commentary about how reality shapes fiction, which in turn breaks through and begins to influence reality. It is not for nothing that one of the central characters in the film is Ian Fleming, the author of the James Bond novels, who worked in British intelligence during World War II and came up with the very trick on which the entire operation rested.
review by Alex First
Operation Mincemeat (M) – 127 minutes – by Alex First
Arguably one of the most audacious Allied operations during WWII is brought to life in the tense thriller Operation Mincemeat.
Based on reality, the contention is subterfuge, which reaches the highest echelons of the British establishment.
The Nazis are expecting an invasion in Sicily and have prepared for it.
In an attempt to turn the tide of the war, the Brits orchestra a plan intended to fool them.
That involves an elaborate amount of detail, including a dead body washed up on a beach and a love story for the deceased.
Leading the subterfuge is Commander Ewen Montagu (Colin Firth), aided by Charles Cholmondeley (Matthew Macfadyen).
Both are highly accomplished.
The latter takes a fancy to a woman in the military’s employment, Jean Leslie (Kelly Macdonald), who proves to be extremely resourceful.
Indeed, it is her photograph which is used as the dead man’s love interest, one which will be placed in his dressed up cadaver’s trouser pocket.
Beyond that, Montagu and Cholmondeley’s back stories play a part in proceedings.
Montagu is married to a Jewish woman, Iris (Hattie Morahan), who flees to America as she and her husband recognise she would be targeted if the Germans invade England.
Montagu subsequently forms a tight bond with Leslie, sparking jealousy on Cholmondeley’s part.
He lives with his mother, Hilda (Ellie Haddington), who is desperate to retrieve the body of her other son (his brother), who was killed in battle.
Pressure is applied to both Montagu (his brother Ivor – Mark Gatiss – is suspected of being a traitor) and Cholmondeley as a love triangle develops in the midst of a particularly dangerous and fraught operation.
Operation Mincemeat is a compelling, complex and brilliantly executed piece of work.
That starts with a layered screenplay by Michelle Ashford, who makes her feature film writing debut (she is noted for her television writing), from a book by Ben Macintyre.
The film benefits from outstanding performances from the key players, fine direction by John Madden (The Best Exotic Marigold Hotel) and noteworthy production values.
Attention to detail is laudable.
The force of the charged relationship between Firth and Macfayden is palpable.
Respect for positions of authority that their characters occupy often spills into antipathy.
Kelly Macdonald shines as a woman torn by duty and growing personal feelings.
Penelope Wilton has diplomacy down pat as she plays Montagu’s reliable off-sider, Hester Leggett.
She navigates the troubled waters of Montagu’s personal entanglements and her enduring respect for him.
Tension is the constant mainstay in Operation Mincemeat, kept alive by the twin threads of the dynamics in play globally and the protagonists’ personal lives.
These are flawed characters playing a high stakes game with tens of thousands of lives at risk.
With all its twists, Operation Mincemeat held me tightly throughout.
The fact that truth is at the heart of it makes it all the more significant.